Lee Ufan

(1936 ) - Artworks Wikipedia® - Lee Ufan
UFAN Lee With Winds

Sotheby's /Nov 12, 2014
111,267.71 - 148,356.95
163,937.80

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Variants on Artist's name :

Lee U-Fan

 

Artworks in Arcadja
319

Some works of Lee Ufan

Extracted between 319 works in the catalog of Arcadja
Lee Ufan - Correspondence

Lee Ufan - Correspondence

Original 1995
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Lot number: 164
Other WORKS AT AUCTION
Description:
Lot Description Lee Ufan (b. 1936) Correspondence signed and dated ‘L. Ufan 96’’’’ (to the right vertical overlap) oil on canvas 86 5/8 x 114 1/8in. (220 x 290cm.) Painted in 1995 Provenance Lisson Gallery, London. Acquired from the above by the present owner. View Lot Notes >
Lee Ufan - From Point

Lee Ufan - From Point

Original 1978
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Lot number: 66
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Description:
LEE UFAN (b. 1936) From Point signed and dated 'L. UFAN 78' (lower right); titled, inscribed and signed 'From Point No. 78075 Lee Ufan' (on the reverse) oil and mineral pigment on canvas 99.8 x 99.8 cm. (39 1/4 x 39 1/4 in.) Painted in 1978 Provenance Lot Description LEE UFAN (b. 1936) From Point signed and dated 'L. UFAN 78' (lower right); titled, inscribed and signed 'From Point No. 78075 Lee Ufan' (on the reverse) oil and mineral pigment on canvas 99.8 x 99.8 cm. (39 1/4 x 39 1/4 in.) Painted in 1978 LEE UFAN (b. 1936) From Point signed and dated 'L. UFAN 78' (lower right); titled, inscribed and signed 'From Point No. 78075 Lee Ufan' (on the reverse) oil and mineral pigment on canvas 99.8 x 99.8 cm. (39 1/4 x 39 1/4 in.) Painted in 1978 Provenance Private Collection, Asia View Lot Notes >
Lee Ufan - Dialogue

Lee Ufan - Dialogue

Original 2007
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Lot number: 508
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Description:
Lee Ufan (b. 1936) Dialogue signed, titled and dated 'Dialogue 2007 Lee ufan' (on the reverse); signed and dated 'L. ufan '07' (on the turning edge) oil on canvas 63 3/4 x 51 1/4 in. (161.9 x 130 cm.) Painted in 2007. Tina Kim Gallery, New York Acquired from the above by the present owner
Lee Ufan - With Winds

Lee Ufan - With Winds

Original 1989
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Lot number: 286
Other WORKS AT AUCTION
Description:
Lee Ufan B. 1936 WITH WINDS signed and dated 89; signed, titled and dated 1989 on the reverse oil and mineral pigment on canvas 35 3/4 by 46 in. 90.8 by 116.8 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Private Collection, Tokyo Acquired by the present owner from the above in 1991 "The phenomenon of the encounter is momentary...In discontinuous, momentary flashes of light, it liberates human beings from the one-sideness and seclusion of the ego, if only for a moment. Unlike the human will, which always desires to define things and give them meaning or a place in history, the state of the world unto itself always teaches us that things are certain and indefinite." - Lee Ufan This work is in very good condition overall. There is evidence of light wear and handling along the edges. There is faint discoloration of the white areas visible under close inspection. There are some localized spots where the pigment appears to have discolored slightly. There are scattered accretions, which fluoresce brightly under Ultraviolet light inspection, but there is no evidence of restoration. Framed. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Lee Ufan - From Line, No. 760219

Lee Ufan - From Line, No. 760219

Original 1976
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Lot number: 61
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Description:
Lee Ufan B. 1936 FROM LINE, NO. 760219 signed and dated 76; signed and titled on the reverse mineral pigment and glue on canvas 63 3/4 x 51 1/4 in. 161.9 x 130.2 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Private Collection, Tokyo Acquired by the present owner from the above in 1994 "In a different way from athletes or Zen priests, I train my mind and body and discipline my behavior in order to obtain greater freedom and enter a more brilliant world. The orderly arrangement of the painted surface is only a superficial result. Following a certain rule may seem to be mechanical or automatic, but actually is not." Masterfully staging the renowned elegance and performative authority for which Lee Ufan is known and revered, From Line, No. 760219, executed in 1976, is entirely striking in its powerful simplicity. Tension and sensation, presence and absence, the essential binaries of Lee’’s art, are expressed in their stunning totality in the present work. The focus of Lee's practice is inextricably bound to these dualities, as equal importance is placed on the artist’’s marks and on the areas of quiet pause that emerge between them. The effect is a melodic cadence of undulating rise and fall that imbues Lee’’s paintings with a mesmerizing sensation of dynamic stillness. In simultaneous dialogue with the sensibilities of John Cage, and his insistence on the decentralization of the art experience, and the graphic restraint of calligraphy, From Line, No. 760219 visually and philosophically bridges the creative landscapes of East and West in the second half of the 20 th century. From Line, No. 760219 is a classic example of Lee's fundamental From Line works and the related From Point works first exhibited in 1973, canvases which developed the seminal imagery that consumed the artist for the next ten years. Aligned in perfect symmetry along the upper limits of the canvas, Lee’’s luminous cobalt strokes disperse into a symphony of floating diaphanous swathes as they journey down the surface of the painting, growing progressively more irregular until they seem to evaporate into absolute pictorial serenity at the bottom edge. In Lee's paintings, the legacy of calligraphic mark-making in Eastern art is stripped to its simplest incarnation, while retaining the maker's internalized qualities of its employment. In his 1975 essay titled "Using a Brush," Lee reflected on the communicative ability of brushwork beyond mark-making alone: "The scholars of East Asia have thought with the brush for centuries, using it both for writing and painting. The object before the eyes and the image in the mind are all constructed of points and lines, and expressed in rhythm with the rising and falling of the breath. Because of this, the viewer... can observe the dynamic relationship between the painting and the canvas, the condition of the painter's body, the movement of his heart, his character and the atmosphere of the age." (Jean Fischer, ed., Lee Ufan: the Art of Encounter, Cologne, 2008, p. 25) The result of Lee's philosophical and artistic thinking is an inquiry into the fundamental tenants of experience. Even Lee's description of his artistic process is rich with sensory understanding and ritual practice: "Cobalt blue powdered mineral pigment (or orange powdered mineral pigment) is dissolved in glue, or sometimes in oil, and left for a while until the color stabilizes. Before working, I calm my breathing, correct my posture, and hold my brush quietly." (the artist cited in Exh. Cat., New York, Pace Wildenstein, Lee Ufan, 2008, p. 7) Loading his brush with paint, Lee's measured downward strokes exploit the properties of the medium and reference the act of the painting's creation. By visually traveling the path of Lee's mark-making, the viewer also retraces the artist's process. Thereby, the act of looking also accentuates the temporal element of Lee's work that renders visible the moment of the brush-stroke's creation and the gradual evolution of its transformation through its expiration. Cy Twombly's mark-making comes to mind, as both artists seek to wed the act of making with the act of seeing in their most elemental and basic form. For Lee, the elegant fade of the paint into nothingness leads the artist to recommence his process, and Lee elaborates on the intricacy of this seemingly simple process. As he explains: "In a different way from athletes or Zen priests, I train my mind and body and discipline my behavior in order to obtain greater freedom and enter a more brilliant world. The orderly arrangement of the painted surface is only a superficial result. Following a certain rule may seem to be mechanical or automatic, but actually is not." (Ibid, p. 8).
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